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Journalism of Courage
When he travels to different countries with his most famous work, UK-based Hofesh Shechter does not add any local elements to it. “The obsession with power and control is so universal that we can stage the dance anywhere and it will echo,” says the 39-year-old about Political Mother. Since Shechter first presented this piece in 2010, Political Mother has become his business card, primarily for its uncomfortable questions about the most hallowed of sentiments — belonging, “whether it is to a nation or to rock and roll”. A day before the Hofesh Shechter Company kick starts Impulse 2, British Council’s annual festival of dance, in Delhi, the dancer-choreographer speaks about the work.
Edited excerpts:
Anatomy of Leadership
I like the connection between the words ‘Political’ and ‘Mother’. Israel, Germany and so many countries are referred to as the Motherland and the leaders are like fathers. Our sense of emotional attachment begins with our home and our parents. We feel we owe them everything and we must give back. On this sentiment is based the idea of a group, a tribe and a nation. This is a fortune to many leaders and, as we strive to fulfil our emotional sense of belonging, our stories take a turn towards power and control. Human beings not only want to lead, they are also obsessed with being led and told what to do. Political Mother is not an entertaining piece, though there are entertaining elements in it; our aim is to challenge people into questioning their deepest beliefs.
Folk and Free
Political Mother presents different characters, from politicians and rock stars to soldiers to prisoners. The beginning is almost a ceremonial dance; it is really ancient. People gather together, they lift the spirits up and it is almost spiritual. I love a simple gesture that is present in many cultures, of lifting the arms in the air. It can be read in so many ways — are they praying or greeting, are they reaching for god or are they submitting to something greater than themselves, are they lifting their arms because they have gained victory or are they surrendering to a benign or a hostile power? When the audience is confused, they ask questions.
The folk forms come from Israel, Japan and Romania among others, but oppression is told through contemporary moves that draw upon classical forms but are ‘undescribed’ and free. I have created contemporary gestures to relate to the sensations I feel. Unlike classical kathak or ballet, contemporary dance is unpredictable and you never know what is going to happen next.
Sound Energy
The music defines a lot of the energy. This time, I had an idea to steal a groove from a Peter Gabriel song and record it. This miserable recording grew into what now sounds like ‘the end of the world’. Peter himself wouldn’t know it was inspired by him, and I am not sure he’d want to. I listened to masters during my classical piano training in Israel, so there is also classical works and a little Bach in Political Mother.
Baggage from Israel
Being Israeli comes with baggage. I don’t try to make the work about Israel but I grew up in a country where I saw conflict first hand and it will essentially inform my work. I saw a separation of two nations and a big separation inside each nation. There is a conflict between Israel and Palestine and, within Israel and Palestine, there are many groups with their ideas of belonging, pride and power.
Israel is an extreme place so you get to question what it means to want to control other people. You wonder what is freedom. Growing up in this extreme environment infiltrates the work and its dynamics. Yet, this work is not autobiographical; I am trying to use the emotions to make a universal piece. It deals with questions but not with place and time.
The performance will be held at Kamani Auditorium today at 7 pm; Entry is free. Contact: 42199000
